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Dec 8th

Aladdin - Milton Keynes Theatre

By Alison Smith

Reviewed 8th December 2015  

panto poster

In old Peking a poor, love-struck boy, Aladdin, is persuaded by a wicked sorcerer to retrieve a magic lamp from a cave, but Aladdin becomes entrapped. Eventually, with the help of the Genie of the Magic Ring, Aladdin escapes his terrible fate.The old lamp is being polished by Aladdin’s mother when another, stronger genie, the Genie of the Lamp appears and all the family’s problems are resolved in a flash. Happy-ever-after ensues.

These are the bare-bones of the 2015 Aladdin pantomime at MK Theatre but that dry legend is a scenario very different from the entrancing world of ‘Chineseness’ and lavishness we are presented with.The stage is decorated in red, the Chinese lucky colour, with dragons and glitter. The costumes (fantastic headwear), in vibrant oranges, golds, purples and blues, echo the splendour. The Citizens of Peking are excellent dancers, adding glamour and movement; the Juveniles, faultless in their routines, fill the stage with singing and dancing. Princess Jasmine is a story-book princess, young and beautiful.The evil magician is just evil enough to reap ‘boos’ from the audience, yet not to scare the younger children out of their seats. PC Pong excels in his role as the incompetent policeman. And the special effects – fountains of fire, a flying carpet, a balloon escapologist, laundry machines which shrink PC Pong, an elephant- size human elephant – make the pantomime exceptional and unforgettable. 

Aladdin 1

photo credit Barry Rivett

Widow Twankey, played by Gary Wilmot, Aladdin and Wishee Washee’s mother, dominates the show. In ridiculous dresses, in marvellous voice, in command of the whole stage, Gary Wilmot charms the audience. He has a first-rate script with some of the best puns and double entendres. I also enjoyed immensely the word perfect, wordplay routine ‘Who’, ‘What’ ‘I don’t know’, between Widow Twankey, Aladdin,(Ben Adams) and Wishee Washee, (Kev Orkian). The brothers are excellently portrayed. Aladdin sings well, looks  handsome and saved the show from some interesting' side-stepping' by some members of the cast. Wishee Washee, the gauche brother, is the seed for much laughter.

Aladdin 3

photo credit Barry Rivett

Are there any weak points?  In my opinion the two genies are not magical. Wayne Sleep's (Genie of the Ring) talent is his tap dancing to the Irving Berlin song, ‘Putting on the Ritz’, certainly not in his speaking. Priscilla Presley (Genie of the Lamp) should have over-acted in her role: she showed little vitality or enthusiasm.

But their performances do not detract from the over-riding joyful feeling this pantomine brings; MK Theatre's  Aladdin has the necessary ingredients for a fun-filled theatre trip for all the family – splendour, lights, music and jokes, but above all laughter from curtain up to curtain down.

Aladdin plays MK Theatre until 10th January 2016 

Bookings 0844 871 7652 


booking fee applies 

Dec 7th

Aladdin, Theatre Royal, Nottingham


There is nothing like going into a theatre to hear the noise all the excited children make like when it's pantomime time.

 The Nottingham panto this year stars Christopher Biggins as Widow Twankey, Simon Webbe as Aladdin and Ben Nickless as Wishee Washee. It raised a few eyebrows when Simon Webb was cast to star as Aladdin: the star is better known as being a member of the pop group, Blue and latterly as being on I'm A Celebritory and of course runner up on Strictly. I need not have worried as he took to the role with charm, humour and of course he can sing and dance.

Christopher Biggins is a natural and he has settled into being the Dame in the panto very well, his rapport with the children and the grown ups was spontaneous and infectious.

 Ben Nickless is part Billy Pearce and part Joe Pasquale, he has some great one liners in the panto and his impressions range from Alan Carr to Kevin Webster from Coronation Street! His cheeky chappy persona won him many new fans in the audience.

The theatre is celebrating its 150th birthday so what a good idea it was for Biggins to make his entrance out of a huge birthday cake with the figures 150 on it. The special effects start within 10 minutes of the curtain going up: a huge slippery serpent weaves its way across the stage.  In the second half Webb travels on a magic carpet which comes out into the audience.

The costumes are as colourful and extravagant as you would expect. Whilst the dancers along with the younger dancers add a touch of youthfulness to the proceedings.

There is the Genie of the Lamp too who rises out of the side of the stage.

Keeping the music in the show up to date the cast perform the Mark Ronson/Bruno Mars track, Uptown Funk whilst there are two One Direction songs included too. What might have been a new song to most of the audience, the Stevie Wonder track, Another Star worked well as the first half concluded in The Cave of Wonders.

James Barron is an old hand at playing baddies in the panto so he plays Abanazar with ease, he is menacing and convincing. Emilie Du Leslay plays Princes Jasmine with innocence.

Being in the pop group Blue is the perfect excuse for their biggest hit, One Love to be performed by Simon Webb.  

The show is fast paced, no scene goes on too long so that the younger members of the audience get bored. This is a panto for all and the smiling faces that I saw when leaving the theatre said it all. Entertaining, uplifting and a real tonic for any winter blues. 

Highly enjoyable.

Runs until Sunday 10 January 2015.

Tickets from:


Nov 24th

The Last Tango - Milton Keynes Theatre

By Alison Smith

Reviewed 23rd November 2015

LT poster

A wonderfully clever set, atmospheric lighting, impressive choreography, choice music and captivating singing, highlight the talents of the Argentine Tango masters, Flavia Cacace and Vincent Simone. The applause before their first dance showed the enthusiasm of the audience for this dance duo and The Last Tango did not disappoint.

The story is simple – a mere instrument to show off their dancing expertise. Rummaging through long forgotten belongings in the attic, packing a suitcase to take on the next stage of his life, George (Teddy Kempner) rediscovers his past. His memories are rekindled and translated into dance by Flavia, Vincent and the ensemble. There is passion and heartbreak, the melancholy of Autumn Leaves tugs at the heart strings,and fun and laughter, but above all between two people a love which survives the torments of life.

The story begins in the thirties; the costumes (Vicky Gill) reflect the age, its conservatism and modesty, but the journey across the years to the last, unforgettable tango is filled with a variety of dress and  dancing styles each sparked by a treasured object George has found – a trilby, a glove, a photo.However, the technically perfect vignettes danced by Flavia and Vincent are not mirrored by the ensemble. I found the men clumsy; they seemed unfeeling towards their partners and lifting them seemed at times too much of an effort. The difference must lie in the relationship between the dance partners. It is clear that Vincent treasures Flavia; his concern is to their partnership not his own ability. The men in the ensemble seem to have a more selfish attitude – look at me and how I dance. 

The last dance of Flavia and Vincent, the last tango of the title, is a dazzling, technically impressive dance with perfect synchronisation of two bodies. In their close embrace we see passion and sensuality; the intimacy of the couple, their contact, both physical and emotional, was moving. And the speed of the steps especially the  ganchos, ochos and patadas was breathtaking. In her silver sheath of a dress Flavia moved effortlessly and she and Vincent were as one in their movements. This tango was a fitting last tribute to their partnership, but most of all to their remarkable talent as dancers.

Plays MK Theatre until Saturday 28th November

Bookings 0844 871 7652

Nov 17th

The Shawshank Redemption - Milton Keynes Theatre

By Louise Winter

Reviewed 16th November 2015

Shawshank poster

Based on Stephen King’s 1984 novella RIta Hayworth and The Shawshank Redemption the 1994 film was initially regarded as a box office flop despite receiving seven Oscar nominations and wide critical acclaim. Now the Shawshank Redemption is a firm fixture at the top of IMdB’s all-time great films. Writers Dave Johns and Owen O’Neill first adapted it for the stage in 2009. It was rewritten for the 2013 Edinburgh Festival and this Bill Kenwright production is its third transformation on tour until the end of the month and featuring two very well-known actors, Ian Kelsey as Andy Dufresne and Patrick Robinson as Ellis ‘Red’ Redding. 

Robinson is well cast as Red, definitely the major and most enigmatic part but you have to wait until the very end to get any real sense of his underlying character in his excellently delivered soliloquy. Kelsey does well with what he’s been given by the writers and director David Esbjornson but it doesn't feel to be enough and he has limited opportunity to show the subtleties or nuances of Dufresne’s personality. The development of the unlikely friendship between these characters, so critical to the story, does not appear to be central to this adaptation. 

There are short scenes of threat, strong violence, and despair but they are momentary and the cast and audience soon move on thus the overall atmosphere is unfortunately rather flat throughout. This is not helped by the use of a wide array of mostly upbeat music for the numerous scene changes which interrupt the cohesiveness of the timeline. Indeed the time span of the film is twenty years but this passing of time is not in evidence in the play apart from a couple of conversational references.  There doesn't seem to be any real desire for insight into the true desperation of those wrongly accused or the depth of the tension that we know exists inside the harshest prisons. This lessens the overall impact of the story.

I found the script unnecessarily wordy and often clichéd; the cast fighting for space to speak within the dialogue. This,and the fact that there appeared to be some issues over the sound quality last night, meant passages of dialogue were lost, particularly in the first half. However, the cast are strong throughout and do an excellent job with their roles and dialogue. The malevolence of Warden Stammas (Owen O’Neill), is palpable and the power and influence he holds over the inmates and guards is effectively depicted by O’Neill. Guard Hadley (Joe Reisig), is foreboding on stage as a huge powerful presence. Prisoners Bogs Diamond (Kevin Mathurin) and Rooster (Leigh Jones) are primarily deeply unpleasant characters – violent rapists who intimidate and rule through fear but here they veer towards caricature on occasion. Brooksie who runs the library, played by Ian Barritt, is a key player in the film but this role is reduced here. The audience doesn’t really get to know him and therefore his suicide once he is forced back into the society he has been apart from for most of his life lacks emotional impact. Excellent as young Tommy Williams is George Evans who portrays well the bluff and bluster of a young man trying to stand up for himself and his murder-disguised-as-suicide is distressing.

Overall the acting is first class, the direction though feels a little rushed.


Plays Milton Keynes Theatre until Saturday 21st November

Bookings 0844 871 7652


Nov 14th

Saul - Glyndebourne on Tour - Milton Keynes Theatre

By Louise Winter

Reviewed 13th November 2015

Saul Poster

Director Barrie Kosksy says ‘Triumph, joy, madness, death, battle, jealousy, rage. What more do you want at a night at the opera?’ Add in sadness, devastation, love, passion and a touch of the gruesome and you are getting near the scope of this production. This has to be the most exhilaratingly exciting Glyndebourne production of recent years. No emotion or sense is left untouched. It is utterly stupendous.

One of the most dramatic stories from the Old Testament, Handel’s version as an oratorio is influenced by King Lear and that is in evidence. Not originally written to be staged this is a gift for Kosky who, along with designer Katrin Lea Tag and choreographers Silvano Marraffa and Merry Holden, is free to create his own world of physical, dynamic direction resulting in drama on a massive scale both musically and visually.

Glyndebourne’s chorus at its best here. Kosky integrates them directly into the storyline giving them the same role as that of a Greek chorus where they become commentator, conscience and judge. Here there is direct interplay between the principals, acting skills brought to the fore. Witty touches to costumes, hair and make-up combined with innovative, contemporary, quirky choreography give much delight to the audience. Conductor Laurence Cummings whips the orchestra along but the pacing of Handel’s score is respected and he keeps the orchestra and on stage performers in perfect harmony throughout.

Kosky has focussed first and foremost on the man rather than the universal story; a man reacting to his unfolding situation and circumstances so we have a story and performance of humanity, or seemingly lack of on occasion. No narrow portrayal here but a powerful and superbly nuanced performance by Henry Waddington who encompasses the full range of extreme emotion. He is wonderful – a true force on stage. Saul’s disintegration is complete and punishing to witness. As the story unfolds and despair permeates, the staging moves from the high colour, brightly lit exuberance of Part 1 to Part II’s monochromatic, candlelit, shadowy atmosphere. Full credit to Joachim Klein for lighting this production so ingeniously.

Saul Richard Hubert Smith

image Richard Hart Smith

David, the catalyst for Saul’s decline is pitched perfectly by Christopher Ainslie, his countertenor contrasting with Waddington’s rumbling Bass-Baritone. O Lord, Whose Mercies Numberless from David attempting to placate Saul is stunning. David’s almost fragile naivety here is perfectly portrayed through Handel’s measured composition and Ainslie’s still, understated delivery. All performances are outstanding; exceptionally so, Benjamin Hulett as Jonathan, Sarah Tynan and Anna Devin as Merab and Michal respectively.

Saul David Jonathan Richard Hubert Smith

image Richard Hart Smith 

This is an epic production, a story of individuals, a family and a nation. At times harrowing, at others joyful but throughout, exciting, engaging and thoroughly confident. A superbly assured and dynamic production and utterly splendid.

Glyndebourne plays Milton Keynes Theatre until Saturday 14th November then continuing on tour.

Milton Keynes Box office 0844 871 7652


Nov 14th

Die Entführung Aus Dem Serail

By James Senor

Reviewed 11th November 2015

Serail 1

image Clive Barda

The Abduction from the Seraglio follows the story of two forsaken lovers. Belmonte is in love with Konstanze but she is enslaved to Pasha Salim. Pasha Salim wishes to marry Konstanze but not forcefully and so waits for her to respond to his affections. However, Belmonte plans to free Konstanze With the help of his past servant Pedrillo, who is also enslaved to Pasha. He devises a plan to free both Konstanze and her close friend Blonde. Blonde and Pedrillo are also in love, which is used as a comparative to the love of Belmonte and Konstanze throughout the play. There are only two significant people in the way of their escape, Osmin and Pasha Salim. Osmin is a servant of the Pasha and detests Pedrillo with a vengeance. Pasha is a Spanish ‘Renegade’, convert, who has prospered in Turkey and owns the household they are held in. 

The opera takes the form of a Singspiel; a German light opera, typically with spoken language. It is famous for being one of Mozart’s first full operas. The work premiered in 1782 and was a huge success both critically and financially.

In Glyndebourne’s production the set effectively captures the essence of its Eastern setting with meticulous attention to detail, the use of colour from the sandstone walls to the wooden screens is perfectly balanced. Designer Vicki Mortimer also makes very creative use of space with the numerous scenes she brought to life. Each scene change felt smooth, coherent and relevant.

Serail 2

image Clive Barda

There is a fantastic array of colour in the costumes; each piece equally important and going so far as to tell a story of the supernumeraries;  quite a task here considering the large cast of this production. 

Singing and acting was strong with amazing vocal dexterity by Ana Maria Labin playing Konstanze (Soprano) who wowed the audience with her performance of the demanding Ach, ich Liebte. Ben Bliss and James Kryshak made excellent work of Belmonte and Pedrillo (both Tenors). But theere was an outstanding performance from Clive Bayley and Franck Saurel for Osmin and Pasha.

Bayley really brought Osmin out as a loathsome and ugly character one which is not just a doltish oaf but a cruel bully with real intention. This injected a real element of frustration into the opera as he appeared to ruin the plans of Belmonte every time, provoking comical boos from the crowd at the end.

Franck Saurel has limited freedom with his spoken role however his acting skills shone. His role is, in some regards, the most important one being pivotal to the plot’s continuity. Letting Belmonte, Pedrillo, Konstanze and Blonde go in the end for dignity and honour is a drastic change. And for such a change the actor needs to tactfully present those virtues while subduing and masking them with anger and frustration. This, he has achieved. 

Ultimately an excellent opera to go see - exciting, emotional and highly dramatic.  

Glyndebourne plays Milton Keynes Theatre until Saturday 14th November then continuing on tour.

Milton Keynes Box office 0844 871 7652

Nov 13th

Don Pasquale

By James Senor

Reviewed 10th November 2015

DP 1 Tristram Kenton

image Tristram Kenton

Based on the works of Geatano Donizetti and Giovanni Ruffini, Don Pasquale first played as an opera in 1843. An immense success it has come to be regarded as one of the finest examples of Italian Opera Buffa along with Rossini’s Barber of Seville and Donizetti’s own L’elisir d’amore. It is therefore naturally a challenge for any director who tries to recreate the magic of the original.

The play follows the formula of Commedia Dell’arte which represents four different stock characters. Don Pasquale symbolizes the Pantalone, a man only concerned about money, a character based on currency and ego who also has the highest regards for his own intelligence and status. Ernesto, the Pierrot, a sad clown-like figure pining for the love of Columbine. Malatesta, the Scapino, a zanni character who works behind the scenes to trick and deceive, also associated with escape. And Norina as Columbina, a servant playing the tricky slave, often the only functional intellect on the stage.  

Here, these characters are vividly visualized and brought to life, aided by the costume department (supervised by Kate Vaughan) which portrays each character in a distinctive colour, which they wear at all times, symbolising their stock characters: Pantalone in red, the colour of dominance and power, Pierrot, in green the colour of nature, Columbine in pink, symbolising love, and the Scapino head to toe in black, a colour associated with mystery and the unknown. The attention to detail by the designers is outstanding, every prop essential to enriching the story and Julia Hansen’s staging is highly effective.

DP2 Tristram Kenton

image Tristram Kenton

The story follows Malatesta’s attempts to convince Don Pasquale to realise his foolish ways and in turn allow Ernesto to marry Norina. He plans to disguise Norina as his sister, who he has offered to Don Pasquale as a wife. After a fake marriage, notarised by a fake notary, Norina is then to treat Don Pasquale with malice and aggression to open his eyes to his foolish desires and teach him a lesson. 

At the beginning of the opera Malatesta is seen moving between rooms, appearing climbing through a portrait in one and emerging from a bath tub in another wall as the stage revolves to reveal each room. The use of these sets and the way the character moves through them give the audience an early sense of the style of the opera – a sense of comic slap stick. The scenes immediately following this opening did not continue this sense and although the first Act was powerful, with each character performing an aria; tenor Tuomas Katajala playing Ernesto in particular was exceptional, there was a slight feeling that the Mariame Clément director was presenting the singing skills of the cast as opposed to creating the atmosphere of the narrative. Acts 2 and 3 however, were much more enjoyable with amusing scenes, interesting staging, excellent acting and superb singing ability. The opera bounced back and managed to re-capture the magic for which it was so famous for on its first performance. 

Glyndebourne plays Milton Keynes Theatre until Saturday 14th November then continuing on tour.

Milton Keynes Box office 0844 871 7652 








Oct 26th

The Glenn Miller Story - Milton Keynes Theatre

By Louise Winter

Reviewed by Louise Winter

26th October

Glenn Miller poster

These jukebox tribute shows can go either way. This is definitely one of the better ones coming as it does from Bill Kenwright’s well-oiled machine. There’s plenty going for it - Miller’s arrangements of iconic tunes; all the best known included here, It Don’t Mean a Thing If It Ain’t Got That Swing, Zing went the Strings of My Heart, Chattanooga Choo Choo, Sing, Sing, Sing and of course In the Mood, played by a superbly tight 16 piece orchestra led by Andrew Corcoran. Then there is Bill Deamer’s classy choreography enthusiastically performed by the very strong six members of the chorus. Designer Mark Bailey and Lighting Designer Nick Richings have done a marvellous job of creating effective staging.

GM 1

The real draw though, is obviously Tommy Steele. He is the consummate showman, in the business for almost 60 years, and is bright, warm, and genuinely having the time of his life. Receiving a rapturous reception as he walked on stage for the first time it was very clear that the audience was here to see him and to listen to Miller’s music (and to sing, hum and sway along).  It was irrelevant to them that Miller was 40 when he disappeared and Steele is almost twice that age. Whilst hardly resembling the image on the promotional poster, his twinkling eyes and cheeky smile are much in evidence.


The narrative doesn’t delve into the mystery of Miller’s disappearance and the treatment of his life story is rather cursory. As so often the case with these types of shows we have a thinly veiled excuse for a concert of ‘the best of’. However, it’s all very pleasurable, visually stimulating and beautiful to listen to. Any fans of Miller or Steele should leave fulfilled especially with the finale when the audience can have a good old sing-and-clap-along to Don’t Sit under the Apple Tree, I’ve Got a Gal From Kalamazoo and Boogie, Woogie Bugle Boy. The audience were delighted and this is most definitely a crowd pleasing show. As Steele said at the end 'This is your chance to have as singalong and if you don't know the words you're in the wrong theatre!' Too true ... this is a show for the already converted!

Plays MK theatre until Saturday 31st October  

Box office 0844 871 7652 (bkg fee)

Oct 23rd

ENB Romeo and Juliet - Milton Keynes Theatre

By Louise Winter

Reviewed by Alison Smith

22nd October 2015


image credti Annabel Moeller

The story of Romeo and Juliet is still as relevant today as it was in the 16th century when Shakespeare wrote the play, in the 1930’s when Prokofiev composed the music and in the 1970’s when Nureyev created the ballet. Verona, the ballet’s world, is a place of disease, conflict and violence, coexisting with humour, joy and love.

The contrast between these two aspects is highlighted from the outset when the death cart trundles across the stage and Romeo, young, handsome and lustful makes his first entrance. And throughout the ballet, the set design, lighting, music, costume and choreography all work together to show the dichotomy - andante and allegro, light and dark, blood red and palest pales.


image credit Laurent Liotardo

The dancers are technically and emotionally excellent. Erina Takahashi as Juliet is a fragile, innocent bride, vulnerable yet stubborn in the face of her conventional, dull parent’s demands. Romeo, Isaac Hernandez, love-struck, dreamy or bereft, epitomises a young lover. They dance together with abandon and passion. The joy and tragedy which enfolds is visible not only in their young bodies but on their faces. I was moved by their freshness and fervour. Cesar Corrales and James Forbat ,as Mercutio and Benvolio, add humour and camaraderie , while Tybalt, James Streeter, is strong and sexy. The sword fighting is breathtaking in its speed and dexterity.The corps de ballet gives the performance exuberance and drama.

This production is thrilling. It sparkles with wit, entrances with emotion and devastates with tragedy. I will see it again.


image cedit Patrick Baldwin

Romeo and Juliet plays MK Theatre until 24th October

Box office 0844 871 7652 

Online booking (bkg fee)

Oct 21st

Lest We Forget - English National Ballet - Milton Keynes Theatre

By Louise Winter

Reviewed by Louise Winter 20th October


Image copyright ash

This triple bill of stunning works, Tamara Rojo's first commission as Artistic Director of the ENB, reflect on the experiences of those involved in WW1. These are astounding pieces that deserve to reach a very wide audience. I was struck by the fact that on this tour they are only performed this one night at MK theatre and one night at The Palace Theatre, Manchester on 24th November. Commissioned as part of the 2014 100th anniversary to mark the start of war it is clear they are subject specific works. However, their pertinence and power is relevant in today's strife-ridden world and they deserve to shown much more extensively.

The works from British choreographers, Liam Scarlett, Russell Maliphant and Akram Khan, sit very well together. No Man's Land by Liam Scarlett, set to excerpts from Liszt's 'Harmonies poetiques et religieuses', is driven by the women who made bullets in the munitions factories, known as 'canaries' because the work turned their hands yellow. This is the only piece to use any structural staging, designed by Jon Bausor, part factory elevated up from part battlefield with a stairway opening up to jagged hole through which their men both real and ghostly return. All this, enveloped in smoky lighting by Paul Keoghan, makes a highly effective sense of time and place.

Seven couples are woven together in this complex piece; Scarlett interpreting Lizst's contrasting movements through pacing, shaping and a meld of ‘traditional’ and more experimental choreographic direction. The white of the women's arms wrapped around their men like the straps of human knapsacks is an abiding image. As the work unfolds a tangible sense of loss and sadness in the gap that is left when someone is gone weaves through the narrative. This feeling culminates in the pas de deux danced with technical brilliance by Rojo and Junor Souza.


Image copyright ash

Second breath by Russell Maliphant is utterly hypnotic. Set in semi darkness, a stage full of dancers sway, rise and fall. With no obvious narrative there is an emotional punch as these movements repeat and build as if swathes of men are being shot. Andy Cowton's composition of delicate piano, harsher strings and a veteran repeating 'strain of continual bombardment .. continual bombardment ... all the time' combine with the choreography and bring to the fore the unremitting state of destruction and desolation of the front.


Image copyright ash

Dust by Akram Khan was probably the strongest piece for me. It seemed to portray the utter trauma suffered by those who never recover from the effects of active combat. This is a profoundly haunting, even disturbing piece, such is its power. The images of James Streeter's tortured, tortuous writhing movements have stayed with me long after the final curtain call.

This is unusual, powerful, innovative choreography by Khan. The eerie music by Jocelyn Pook and cyclical playing of a snippet from British soldier Edward Dwyer singing 'We're here because we're here,' along with atmospheric lighting of Fabianna Piccioli creates a truly thought provoking work. I felt dreadfully sad yet the creativity of the choreographers, and the athlectisim and mastery of the dancers was inspiring at the same time. It is sometimes difficult to express in words the deep emotional impact that art can have. For me, this is one of those occasions.

Lest we forget played for one night at MK theatre. The run continues with Romeo and Juliet until Saturday 24th.

Box Office 0844 871 7652 (bkg fee)

Online Booking (bkg fee)